From: Jorge Lorenzo Flores Garza (email suppressed)
Date: Sun Dec 06 2009 - 13:53:55 PST
I agree with Tony. I teach an experimental film class in Mexico, in Monterrey, a city where nobody has ever heard of Maya Deren. This means I really need a good introductory text on experimental film-video-moving image. I just gather 'round different readings that give a good idea about specific movements or artists and take it from there.
> Date: Sun, 6 Dec 2009 16:35:17 -0500
> From: email suppressed
> Subject: Re: looking for good intro text
> To: email suppressed
> Hi Bernie--------
> You will probably not like this message.
> But yesterday I received my copy of a new Taschen book, Art Cinema
> (9783822835944), that takes a swipe at the huge project of connecting cinema, in
> its origins and full sweep as art, with the contemporary art media. In it you
> will find Bresson, Pipilotti Rist, Aernout Mik, Len Lye, Muehl, Sharits, Arrabal,
> Tracey Moffatt, Dreyer, Greenaway, etc. etc. (but no community-based video at
> all). Of course this book is a failure, but it connects viscerally with things
> students are interested in (sex, surrealism, movies), and is loaded with pix and
> lite on text. In fact, I will consider it as a textbook for certain of my own
> That said, my experience has been that students don't buy books any more,
> especially big beautiful picture books--- however useful. I used Michael Rush's
> book Video Art as a text, and I felt that nobody in the class owned or really
> read it very much. The fact is that students will access a compilation of
> websites more readily than they will use reserve texts at the library, even when
> in the library itself. The only books that average students regularly acquire are
> "textbooks" they are required to swallow page by page, in business, science, and
> pre-med courses. Except among over-achievers, books are over.
> On Sun 12/06/09 10:22 AM , Mark Webber email suppressed sent:
> > bernard
> > this sounds something like a book i've been working on for a few
> > years, and i'm afraid it is still a few years away.
> > my project is an oral history of the development of 'avant-garde' film
> > from the 50s to the 70s, predominantly covering the US situation,
> > which will be told in the words of those directly involved. it is more
> > of a social / cultural history of the ways in which the films were
> > made, shown, distributed and discussed rather than a study of the
> > films themselves.
> > i've conducted 70-80 new interviews to date. eventually, copies of the
> > complete interview transcripts and recordings (many of which are 3-4
> > hours long) will be deposited at archives in new york and london,
> > where they will be available for other researchers.
> > details below of a related (free) event in new york this evening. (not
> > sure if it's just me, but i didn't receive part 1 of the this weeks
> > listings)
> > mark
> > ...
> > UNDERGROUND NEW YORK
> > New York Gershwin Hotel
> > Sunday 6 December 2009, at 7:30pm
> > In the 1960s, filmmakers investigated new forms of production in
> > dialogue with radical shifts in art, music, performance and popular
> > culture. Following the example of the Beats, the counterculture was
> > alive with protest, freedom of expression and the breaking of taboos,
> > and from the Film-Makersâ�� Coop to Andy Warholâ��s Factory,
> > portable 16mm cameras were bringing a whole new way of seeing to the cinema
> > These heady days of â��underground filmâ�� were captured by
> > Gideon Bachmann in a spirited broadcast for German television. Rarely seen
> > today, it is one of the few surviving documents to show aspects of New
> > Yorkâ��s independent film community during this exhilarating
> > period.
> > UNDERGROUND NEW YORK (PROTEST WOFÃ�R)
> > Gideon Bachmann, 1967, black & white, sound, 51 minutes
> > Shirley Clarke grows carrots on top of the Chelsea Hotel and meets
> > Jonas Mekas and Michelangelo Antonioni at the Film-Makersâ��
> > Distribution Center. Allen Ginsberg, Susan Sontag and Tuli Kupferberg
> > protest for peace before being shipped off to the Department of
> > Correction. USCO freak out in their intermedia church and Maurice Amar
> > stages a happening at the Movie Subscription Group. Gideon Bachmann
> > goes on location with Adolfas Mekas in New Jersey, George Kuchar in
> > the Bronx, and Carl Linder in his bedroom. Bruce Conner dances in a
> > diner, and Andy Warhol fakes it for television.
> > Presented by Mark Webber, the Gershwinâ��s outgoing artist in
> > residence, who is currently researching an oral history of avant-garde cinema
> > from the 1950s through the 1970s. Some of those interviewed for the
> > project will be present.
> > Free Admission.
> > Arrive 7:30pm. Screening 8pm.
> > at
> > The Gershwin Hotel
> > 7 East 27 Street (between 5th & Madison)
> > New York, NY 10016.
> > Subways: R, W, 6 at 28 St or F, V at 23 St.
> > On 4 Dec 2009, at 09:02, FRAMEWORKS automatic digest system wrote:
> > > Date: Thu, 3 Dec 2009 19:25:44
> > -0800> From: Bernard Roddy OO.COM>> Subject: looking for good intro text
> > >
> > > Greetings, frameworkers:
> > >
> > > Can anyone think of an introductory text that
> > combines a history of > experimental film and video IN THE U.S. with a
> > strong discussion of > the history of artists' organizing, writing, and
> > distribution IN THE > US?
> > >
> > > For Great Britain there's David Curtis' A
> > History of Artists' Film > and Video in Britain. This has the distinct
> > advantage of combining > film and video art criticism with strong (and
> > introductory) writing > about the social history behind production,
> > distribution, and > critical reception. It includes discussion of
> > "little magazines," > the "schooling" of film artists,
> > institutional support for artists' > work in film such as the Experimental
> Film Fund
> > and the Arts > Council, as well as issues motivating and
> > confronting artists' > organizations like the London Filmmakers'
> > Co-op.>
> > > I'd love to find something like this for the
> > U.S. It would include > a history of things like Canyon Cinema and the
> > Film-Makers' Co-op, > Cinema 16 and Anthology Film Archives, in
> > addition to offering a > critical context for student work.
> > >
> > > Thanks in advance.
> > >
> > > Bernie
> > __________________________________________________________________
> > For info on FrameWorks, contact Pip Chodorov at om>.
> For info on FrameWorks, contact Pip Chodorov at <email suppressed>.
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